World Views: Metageographies of Modernist Fiction

Jon Hegglund

Abstract

This book argues that many Anglophone modernist and postcolonial authors have often functioned as geographers manquéés, advancing theories of space, culture, and community within the formal structures of literary narrative. Reading a diverse body of work by Joseph Conrad, E. M. Forster, James Joyce, Graham Greene, Jean Rhys, Jamaica Kincaid, and Amitav Ghosh alongside writings of geographers and other intellectuals, this book finds a persistent imagining of other orders of geographical and geopolitical space that question or deny the ontological primacy of the territorial nation-state. Many tw ... More

This book argues that many Anglophone modernist and postcolonial authors have often functioned as geographers manquéés, advancing theories of space, culture, and community within the formal structures of literary narrative. Reading a diverse body of work by Joseph Conrad, E. M. Forster, James Joyce, Graham Greene, Jean Rhys, Jamaica Kincaid, and Amitav Ghosh alongside writings of geographers and other intellectuals, this book finds a persistent imagining of other orders of geographical and geopolitical space that question or deny the ontological primacy of the territorial nation-state. Many twentieth-century Anglophone writers, the book argues, do far more than dramatize the conflicts of characters and communities within a static frame of geographical and social space; rather, these writers treat geographical space as a primary element of novelistic form. This geographical self-consciousness, or metageography, manifests itself in the novel as a structural tension between two codes of realism: the novelistic, which projects a mimetic space of human characters and invididualize plots, and the cartographic, which understands space as a quantitative, formal abstraction. In negotiating this tension, modernist and postcolonial writers employ a spatial irony as a way to both draw upon the novel's powers of mimetic representation while also critiquing the geopolitical orders of space into which the novel's individual narratives must inevitably fit.

End Matter

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